AMUSEMENTS.

Taranaki Central Press, Volume IV, Issue 402, 8 April 1937, Page 8

AMUSEMENTS.

Plaza Theatre. ‘‘Dishonour Bright.” Cast perfectly in a diverting theme which could have been written only by the inimitable author, Ben Travers, the English actor Tom Walls enhances a popular reputation in sophisticated comedy by his performance in “Dishonour Bright,’’ which ■ opens at the Plaza Theatre tonight. In his role a« a, muchmaligned modern Don Juan, Tom Walls only commences a hectic series of matrimonial adventures when he marries the respondent in a divorce action. From this time, the fun waxes furious as his Continental honeymoon is complicated by his misunderstood endeavours to rescue the wife of the suspicious lawyer, who had assailed him in the Court, from the ingeniously laid plot of a blackmailer. There is a startling climax when the husbands and wives of both parties and the blackmailer, most of whom are apprehensive of the attentions of the notorious Stephen Champion (Tom Walls), arrive in a Paris hotel, to bring about a denouement. No actor but Tom Walls could use the witticisms of Ben Travers’ dialogue to such advantage, and the film abounds in the subtlety which offers him full rein for his ability in the role of adventurer. As Stephen Champion’s wife, Diana Churchill gives one of her best performances, hei- portrayal of the trusting wife, simple in manner and hopeful in ideals, but dogged by a persistent cold in the head, proving a great foil to the pointed sallies of her husband. As the lawyer’s wife, Betty Stockfield plays a more emotional role with artistry, and the trio pass through their many trials in an atmosphere of complete diversion. Certainly it is one of the most entertaining of Tom Walls’ productions, its success being enhanced by the able support lent by the actors with whom he is cast. Much interest will centre in the excellent supporting programme, which features “Keeper of the Trees,” a skilfullydesigned camera record of a major New Zealand afforestation scheme. A musical novelty, "Gipsy Revels,” transfers the beauty of the Russian and Hungarian nomads’ singing and dancing to the screen, while the programme of newsreels Includes some striking pictures of the recent bombing of Madrid, and some clever variety items. “The Garden of Allah.” “The Garden of Allah,” which comes to the Plaza Theatre, Stratford, next Saturday, reproduced as it is in natural colour, must be ranked as an outstanding picture. Not that the colour dominates the film, for both the desert settings in which the film abounds and the interiors are chosen with irreproachable taste. The colours for the most part are quiet and it is rarely that bright contrasts are introduced. Against such a notably beautiful background is thrown a story somewhat deeper than the average screen story. The dominant issue is the love of a beautiful girl who is seeking peace in the desert after the loss of her cherished father, and a man unused to the ways of the world, an escapee from a Trappist monastery. A strange courtship, in which the woman does her best to allay the unrest in her lover's soul, marriage, and a honeymoon in the desert lead up to a protracted climax, in which the man is revealed as one who has broken vows more sacred than those of marriage—a contract with the Church. It is at this stage that Charles Boyer, he leading actor in the film, rises to great heights, as he tells of the unrest he has suffered since he forsook the Church for the ■world. Marlene Dietrich, too, plays her sightly less difficult part surely and sincerely. “The Garden of Allah,” as the producer acknowledges, is not intended as pure entertainment and nothing else. It deals with emotional issues capably and convincingly, qnd as such will be greatly appreciated. Its characters will be found at times repellent, at times delightful, and always wholly understandable, and a hard-thinking producer has included in it many of the sights of the East, a number of its desert folk some superb photography, and an orchestral accompaniment which greatly assists the story. A cartoon in colour, one of Disney’s finest efforts, and a travelogue of Dutch Guiana, are included among the supporting pictures. King’s Theatre. “Dracula’s Daughter.” “Dracula’s Daughter,” which comes to the King’s Theatre next Saturday, brings with it all the 200-year-old suI perstitions about vampires which still persist in Central Europe. Scientists challenge the occult and, so far, science has won ever}’ bout with vampires. For that reason, the actors and director of “Dracula’s Daughter” deserve a great measure of praise for the strangely credible quality they

give to the screen offering. Those who liked the earlier film, “Dracula,” will find entertainment in the sequel. While audiences that did not see it will discover a curious appeal in the novel presentation of the weird creature who hypnotises humans and bends them to her desires. Otto Kruger portrays with easy naturalness the scientist who combats “Dracula’s Daughter.” The title role is interpreted with compelling lure by Gloria Holden, a stage actress who gives an excellent performance. Marguerite Churchill provides the romantic element in the drama. Edward Van Sloan, who played Dr. Von Helsing on the stage and screen in “Dracula,” contributes praiseworthy work to the sequel. Trving Pichel is splendid in a part that requires consummate acting. Other players who rate favourable mention are Nan Gray and Helda Hopper. Lambert Hillyer has handled the cast and the scenes with extreme •care. Garrett Fort wrote the screen iplay, basing it on Bram Stoker’s '“Dracula’s Guest.” “Dracula’s Daughter” will screen at the King’s Theatre on Saturday and Monday.